If
you’re not in on the joke, Star Trek Into Darkness is a lot of fun. If you’re in on the joke, it’s even
more. The film’s greatest strength lies in the fact that it’s essentially a flashy
remake of a classic episode from the original series but with clever twists and
turns that throws the story in a new and exciting direction. Yet even apart
from its predecessors, this is a thrilling popcorn film designed to enthrall
audiences with 3D special effects, witty dialogue, and poorly researched
scientific explosions in space all with a cast of overly attractive actors.
However, if you reach beneath the popcorn kernels at the bottom of the bucket,
you will find that Into Darkness
has remembered the central moral principles that made Gene Roddenberry’s
original vision compelling: life is an objective good, love requires sacrifice,
and the law was made for man, not man for the law.

The
story begins in a volcano, which is always a good place to start. Spock is
attempting to deactivate it from the inside to save a primitive civilization
without being seen by the natives. When the plan goes awry, Kirk and the
Enterprise swoop in to save him, breaking their cover in spectacular fashion.
This whole adventure is a direct violation Starfleet’s Prime Directive, the
guiding principle of non-intervention. Kirk would never hesitate to break the
rules to rescue a friend; Spock would have gladly died to preserve order. This
moral dynamic is at the center of the Star Trek universe. For Kirk, life is a universal moral that supersedes
artificial laws, even if this means discomfort to the larger group. For Spock,
the “needs of the many outweigh the needs of the few.”

As
the film progresses, these philosophies are tested beyond what either of them
could have dreamed. An act of terrorism sends the Enterprise deep into Klingon
space where they are commanded to
disobey the law by executing remotely rather than capturing the fugitive John
Harrison. Now motivated by personal revenge, Kirk is more than willing to
comply, even firing one of his closest friends who dares to challenge the
mission’s motives. The audience suspects that not everything is what it seems; the
clever Star Trek fan will begin
to pick up clues the moment Kirk is given exactly seventy-two secret torpedoes.
When the fugitive is finally confronted and revealed, well…it’s difficult to
describe, but let’s say it left a big grin on my face for the rest of the movie.

This Star
Trek adventure is both new and old, forward
thinking and nostalgic. The fact that we know the story is a benefit, not a
drawback, because each new adjustment gives a fresh meaning to old tales. The
characters are still themselves: Scotty is brash and impatient, Bones is
practical and wry, Chekhov doesn’t seem to have much of a purpose. Yet their
relationships and destinies have been forever altered. Kirk makes crucial
decision that doesn’t alter his personality but changes his character. It also
gives Spock the best line in the film.

The Prime
Directive for Kirk is not allowing alien self-determination but the
preservation and promotion of life as an ultimate good. His heroic action
echoes the affirmation that “there is no greater love than this, to lay down
one’s life for a friend.” This does not negate social norms or government laws
but affirms their purpose. It may be moral to go over the speed limit to get a
dying passenger to the hospital. It is not moral when getting a hungry
passenger to Burger King (even for the Double Stacker). This is why most
previsions in canon law make exceptions for those who are close to death. The
goal is holiness in this life and perfection in the next.

The best science
fiction works are so far away they feel close to home. While Into Darkness is a flawed film in many ways, it is a good
representation why this series has continued to be a part of our culture for
fifty years. Kirk’s orders to kill Harrison without a trial eerily echoes
Obama’s drone program; a genetic experiment similar to today’s agricultural
practices has unexpected and disastrous consequences hundreds of years later.

While the 2009
reboot introduced these characters, Into Darkness ends with them tested and found worthy of the five year mission they
will endeavor. They can now boldly go where no man has gone before because they
have gone where every great man has gone before: into darkness and
backagain. They are better for it and ready to punch that warp
drive. I can’t wait to see what happens next.

The Olszyk "Reel" Rating System

No reels  A film that is awarded no reels is not a
film. It is consistently morally deplorable and may include unnecessary graphic
violence or gore, pornography, and evil themes. It also has no artistic merit,
being terribly made or exceedingly boring. These films should not be viewed by
anyone for any reason. A film that is awarded no stars is rare; it’s only merit
is a good apologetic proof of original sin.

A film that is awarded one
reel is a bad film. It may contain poor acting, laughable writing, and bland
direction to low artistic effect. It also has no substantive moral purpose or
endorses immoral ideas. In today’s world, where a family of five could easily
spend $100 on tickets and food at the movies, one reel films should not be
viewed by the average public. They may have limited merit for insomniacs.

A film that is awarded
two reels is a mediocre film. This is a film of mild intelligence or mix moral
messages. This kind of film may appeal to a specific demographic but leave
others checking their watches; it provides casual entertainment but not
constructive viewing. The best description of mediocre films is “meh.”

A film that is
awarded three reels is a good film. It is pleasing to the eye, melodious to the
ear, and warming to the heart. It is tells a good story well. It may not be
worth the money to see in the theater but should be seen on home video or
streaming. A good film is best seen on a Friday night with popcorn and a
snoozing dog at your feet.

A film that is awarded four
reels is a fantastic film. It demonstrates a high level of artistic merit and
provides a thoughtful mediation or insight into the spiritual life of its viewers.
It is worth the price of admission to a regular movie theater. Fantastic films,
like fruits and vegetables, should be consumed frequently.

A film that is
awarded five reels is a very special film. Like other great Catholic works of
literature, it is a unique experience that propels your spiritual life forward.
These films, while not appropriate for all ages, are required viewing for an
educated Catholic and cultured human being. A five star review is rare, requires
undistracted attention, and deserves repeated viewings.

About the Author

Nick Olszyk

Nick Olszyk is Chair of the Department of Religion at Cornelia Connelly School in Anaheim, CA. He has directed several short films and is the new father of the aptly named Nick Jr. He was raised on bad science movies, jelly beans, and TV shows that make fun of bad science fiction movies. Visit him online at his website, Catholic Cinema Crusade.

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